Included in this section are mix and match ideas and four fully realized learning activities: I’ll Try Out the Pencils, Moments in Time, A Close Look and The Big Picture.
Mix and Match
Mix and match activities are suggested for use in the visual journal. They consist of three groups : Visual Art Themes, Visual Art Techniques and Writing Themes. Many of the Visual Art Themes and Writing Themes are taken directly from Frida Kahlo’s diary while others are suggested to round out the learning experience. With imagination and personal style, educators synthesize elements from one, two or three categories to create journal activities. In some cases, media and technique suggestions are made with the Visual Art Theme suggestions. Educators may be inspired to create their own themes with which to combine the suggested themes.
Visual Art Themes
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title page
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self-portraits
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illustrations for a Pre-Columbian myth
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self as animal
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animal as symbol
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pet drawings
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museum sketches
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monochromatic monotypes
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Mexican flora cut-outs
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gesture and contour drawings
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personal visual narratives
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transfer and counterproof prints using Pre-Columbian sources (sculptural and architectural)
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paraphrasing artists’ (both Kahlo and Rivera) work
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scenes from the artists’ lives
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collage with a photograph
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mixed media activity based on el día de los muertos
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surrealist games of constellations and exquisite corpse
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automatic drawing
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sketches
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diagrams
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doodles
Visual Art Techniques
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drawing with marker, colored pencil, pen, pencil, pen and ink, watercolor pencils
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watercolor monoprint
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transfer and counter transfer print
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watercolor painting
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collage
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photomontage
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paper cut-out collage
Writing Themes
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title page
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descriptive and comparative analysis of “Fulang-Chang and I” and “The Making of a Fresco”
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stream of consciousness
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description of an imaginary world
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autobiographical writing
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reflections on the symbolism of colors
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letters to the Frida Kahlo and Diego Rivera
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subjective responses
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descriptions of methods of working
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notes
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stories
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personal myths
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poetry
Fully Realized Learning Activities
I’ll Try Out the Pencils...
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I’ll try out the pencils
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sharpened to the point of infinity
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which always sees ahead:
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Green- good warm light
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Magenta- Aztec. old TLAPALI
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____
blood of prickly pear, the
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____
brightest and oldest
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____
color of mole, of leaves becoming
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____
earth
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____
madness sickness fear
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____
part of the sun and of happiness
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____
electricity and purity love
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____
nothing is black- really nothing
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____
leaves, sadness, science, the whole
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____
of Germany is this color
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____
more madness and mystery
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all the ghosts wear
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clothes of this color, or at
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least their underclothes
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____
color of bad advertisements
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____
and of good business
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distance, Tenderness
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____
can also be this blue blood?
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Well, who knows!
(mole- dark brown spicy chocolate sauce)
Content Standard #1 Understanding and applying media and processes.
Content Standard #2 Using knowledge of structures and functions.
Content Standard #3 Choosing and evaluating a range of subject matter, symbols and ideas.
Content Standard #4 Understanding the visual arts in relation to history and cultures.
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Content Standard #6 Making connections between visual arts and other disciplines.
Background- Personal and cultural symbolism of color can be examined in the diary of Frida Kahlo. The diary is a visual journal of the artist’s innermost thoughts, ideas and feelings on art and life. It is the diary entry that forms the basis of this student activity. Picture Frida Kahlo looking at a set of colored pencils. Often the materials of art are part of the inspiration. In gold, Kahlo writes in her diary: Probare los lapices tajados al punto infinito que mira siempre adelante: (I’ll try out the pencils sharpened to the point of infinity which always sees ahead:). Kahlo refers to the metaphysical quality of art to reach beyond the surface of illusion to a deeper meaning. She continues forming words in blue, magenta, brown, green, red and yellow, describing and connecting her thoughts and beliefs to the colors of her pencils. Kahlo’s color associations create a prismatic view of her inner world.
Extension: Explore the meaning of color further by reading from two additional sources. A folktale from Chiapas retold by Subcomandante Marcos, The Story of Colors and an Aztec myth retold by Gerald McDermott, Musicians of the Sun, tell how color is brought to the world.
Goal- Explore self through the meaning of color.
Objectives- The student will be able to:
Associate color with people, places, events, food, emotions.
Identify color association in Kahlo’s diary..
Create a sketchbook page showing personal color associations.
Materials
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The Diary of Frida Kahlo, an Intimate Self Portrait
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sketchbook
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colored pencils
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white drawing paper 12” X 4 1/2”
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glue
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water soluble colored pencils
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brushes
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watercolors
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copies of Kahlo’s diary entry
Extension Materials
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Subcomandante Marcos, The Story of Colors
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Gerald McDermott, Musicians of the Sun
Activities
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1. Read all or part of Kahlo’s diary entry on color symbolism. Determine the appropriateness of the content for the age of the students. Explain, point out and discuss how Kahlo’s choices tell us something about her. Look at the facsimile in The Diary of Frida Kahlo, an Intimate Self Portrait.
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2. Class makes a larger than life facsimile of all or part of Kahlo’s diary entry by dividing the lines among the students. Lines are copied onto strips of paper in colored pencil and glued together in order. (Variations: Students make a partial or complete facsimile in their sketchbook. Another approach is to have , students write assigned lines in their sketchbook rather than making the large class display.) Students explain what, if anything, is learned about Kahlo from the line(s) she or he copied.
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3. Find a developmentally appropriate way to encourage students to associate color with feelings, places, people and objects. For example, give students an array of twelve colored pencils. Name an object such as apple. Ask students to pick up the pencil that they associate with an apple, red, yellow or maybe green. Another way to investigate color associations is to hold up a colored pencil. Ask each student to name something that is that color. For example, What is red? Answers may include apple, stop lights, valentine hearts, blood, anger, passion. Explain and point out that the choices made about colors and associations tell something about the person making the choices.
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4. Continue by having students make one color statement or several in their sketchbook. Sketchbook color entries can be made over a space of time or all at once. Limit number of colored pencil hues to be used at any given time. For example, do one color or four in one sitting. Consider each color carefully. Make personal associations with the colors and write in color, modeling writing after Kahlo’s diary, Embellish with watercolor, watercolor monotype or watercolor pencil.
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5. Share all or part of sketchbook color entries if students wish to do so. What, if anything, is revealed about each student’s personality? What characteristics and associations do students in the class share? How are they different?
Extension Activity
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6. Read about color associations in traditional folk lore in Subcomandante Marcos, The Story of Colors and Gerald McDermott, Musicians of the Sun. What are the color associations?
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7. Write a myth about the origin of color.
Evaluation
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art work and writing in sketchbook
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Kahlo facsimile
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discussions
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8. I’ll try out the pencils [GOLD]
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9. sharpened to the point of infinity [GOLD]
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10. which always sees ahead: [GOLD]
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11. Green- good warm light [TEAL]
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12. Magenta- Aztec. old TLAPALI [MAGENTA]
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13. blood of prickly pear, the [MAGENTA]
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14. brightest and oldest [MAGENTA]
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15. color of mole, of leaves becoming [BROWN]
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17. earth [RED]
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18. madness sickness fear [YELLOW]
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19. part of the sun and of happiness [YELLOW]
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20. electricity and purity [TURQUOISE] love [BROWN-BLACK]
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21. nothing is black- really nothing [BLACK, nada underlined in GREEN]
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22. leaves, sadness, science, the whole [GREEN]
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____
23. of Germany is this color [GREEN underlined with BLUE]
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24. more madness and mystery [YELLOW]
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25. all the ghosts wear [YELLOW]
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26. clothes of this color, or at [YELLOW]
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____
27. least their underclothes [YELLOW]
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28. color of bad advertisements [TEAL]
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29. and of good business [TEAL]
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30. distance, Tenderness [BLUE distance underlined in BLUE and RED]
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31. can also be this blue [BLUE] blood? [RED]
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Well, who knows! [RED]
[Number and color notations added by Savage.]
Moments in Time
Content Standard #1 Understanding and applying media and processes.
Content Standard #2 Using knowledge of structures and functions.
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Content Standard #3 Choosing and evaluating a range of subject matter, symbols and ideas.
Content Standard #4 Understanding the visual arts in relation to history and cultures.
Background- This is a journal activity with results to be shared with the class. Each student creates a visual journal page which is a combination of monoprint, illustration and written element about an event in the life of Kahlo or Rivera. Upon completion, the journals are opened to the event and assembled in chronological order. Students teach each other about the artists.
Goal- Learn and share information about artists.
Objectives- The student will:
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Collect information about Kahlo or Rivera from a variety of sources.
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Choose an event to illustrate.
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Choose a suitable writing form.
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Use monoprint technique.
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Present work.
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Relate selected events in the lives of Kahlo and Rivera.
Materials
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resources- see Bibliography, Student Resources, Posters and Postcards
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visual journal
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watercolor paint
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brushes
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variety of drawing and writing media
Activities
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32. Teacher presents some material and students collect information about the lives of Frida Kahlo and Diego Rivera. View videotapes, read from magazines or biographies. Look at posters, timelines and teacher made displays. Search electronic resources. Students narrow focus to one artist, and then concentrate on one significant event.
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33. Create a rubric for evaluation of activities and fill out as each activity is completed.
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34. Using a format or criteria for note taking, students gather pertinent material. Record information: written and sketched, in the visual journal. Photocopies, if used, are glued into the vj.
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35. Experiment with monoprint technique first. Experiment with color, texture, brushstroke and composition. Choose colors, composition and brushstrokes to complement vj entry. Then open vj to two adjacent, blank sheets. Paint quickly in watercolor on one sheet of the vj. Press the adjacent blank sheet against the painted sheet. Open and allow to dry. Important- use transparent colors which will not overpower further drawing and writing to be done over the monoprint.
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36. Choose a writing type which best suits the event in the life of the artist. For example, use a newspaper headline for the death of Rivera, a marriage announcement for the marriage of Kahlo and Rivera, a letter from Kahlo to a friend describing the opening of her first art exhibition. Write a draft in the vj. Include the date and place of the event.
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37. Choose imagery to illustrate the event. Make preliminary sketches in the vj.
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38. Superimpose image and writing over the monoprint. Choose from a variety of media to draw and write.
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39. Prepare a short statement, explanation, reading and showing of vj entry.
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40. Open vj to events and arrange in chronological order. Present.
Evaluation
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notes, sketches, drafts
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monoprint
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completed vj entry
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presentation
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student/teacher created rubric
A Close Look
Content Standard #1 Understanding and applying media and processes.
Content Standard #2 Using knowledge of structures and functions.
Content Standard #3 Choosing and evaluating a range of subject matter, symbols and ideas.
Content Standard #4 Understanding the visual arts in relation to history and cultures.
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Content Standard #6 Making connections between visual arts and other disciplines.
Background- These activities guide students in an investigation of the work of Frida Kahlo and Diego Rivera by taking an in-depth look at two works of art, “Fulang-Chang and I” and “The Making of a Fresco.”
Goal- Explore two contrasting artists’ ways of depicting identity.
Objectives- The student will:
Describe, analyze and interpret art using spoken and written language.
Describe, analyze and interpret art by making visual images.
Materials
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Reproductions of “Fulang-Chang and I” and “The Making of a Fresco.”
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watercolor paint
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brushes
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crayons or oil pastels
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a variety of writing media
Activities
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41. Display “Fulang-Chang and I” and “The Making of a Fresco.” Discuss or write, looking for points of comparison. Fully describe one art work in a column in the vj. Then describe the other work of art, comparing at each juncture. For example:
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woman- man; one person- many people; front- back; small- large (give dimensions).
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42. Draw and paint parts of the two art works. Choose one element of the art work to look at more closely such as the background, the clothing worn by the artist, his and her hair or the figure closest to the artist. Make two drawings, one of each art work, however, only draw the chosen element. Render in oil pastel or crayon leaving write paper showing. Paint with transparent watercolor, allowing the oil based media to resist the watercolor paint. Dry.
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43. Add words to images, further describing the subjects of comparison.
Extension- Follow with a self- portrait activity zeroing in on one part, an eye or hand. What does this small part say about the whole? What clues of identity are revealed? Jewelry, fingernails, make-up, eye color, expression, gesture?
Evaluation
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Discussion
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Written comparisons
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Visual comparisons
The Big Picture
Content Standard #1 Understanding and applying media and processes.
Content Standard #2 Using knowledge of structures and functions.
Content Standard #3 Choosing and evaluating a range of subject matter, symbols and ideas.
Content Standard #4 Understanding the visual arts in relation to history and cultures.
Background- Students plan and execute a mural which includes each student’s portrait and is made along the organizing and thematic principals of Rivera’s murals. The mural depicts an everyday scene from school. Since there is no “Diego Rivera” or single person chosen to design the art work or direct others, students take on the responsibility as a unit. Equipped with some rules of conduct and means to make decisions, students make decisions through group process. The teacher mediates only when absolutely necessary. Group process, if allowed to flow, may result in the appointment of a “master artist,” someone who is chosen to create the mural plan. Another way to proceed is to vote on mural proposals submitted by everyone in the class. Students are given jobs such a timekeeper, supply manager and recorder. Tasks on the mural are divided by physical space or by specialization such as faces or architecture so each student has a role. As a point of interest, it should be noted that mural painting was a course of study offered at the California School of Fine Arts during the era of the New Deal arts projects.
To add interest and vitality, the mural is slightly three dimensional.
Goal- Experience group process in the execution of a collaborative, large scale art work.
Objectives- The student will:
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Participate in the design of a group mural.
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Participate in the execution of a group mural.
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Participate in the decision making process.
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Use a grid.
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Explore three-dimensional potential.
Materials
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pencils
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visual journal
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paper
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paint (markers, oil pastels)
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assorted collage material (papers, fabric, photographs)
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adhesives
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mural backing
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rulers, yard sticks
Activities
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44. Teacher and students agree upon a set of rules and strategies to govern mural making. Review elements of group process and inclusion of everyone in the process. Decide on the strategy for making the mural plan. It may be to decide by consensus that one student design the mural, or each student make a plan and one is chosen, or parts of each student’s plan could be included in one design. Another method is to decide upon a given framework and divide the spaces. An example is a school, each student designing a room.
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45. Record daily progress in the visual journal.
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46. Create and use an ongoing assessment rubric. Include group process as well as art assessment.
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47. Review the parameters of the project- the mural must depict some aspect of school life, include a representation of each student and be three-dimensional or low-relief.
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48. Decide upon and assign work tasks.
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49. Choose a mural design. Enlarge to monumental size on backing material using a grid.
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50. Decide upon media.
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51. Experiment with three-dimensional techniques such as additions of cardboard, folded or crumpled paper.
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52. Decide upon and assign art tasks.
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53. Proceed to work on mural.
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54. Display completed mural with written explanations about the process of making the mural gleaned from the vj entries.
Evaluation
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visual journal daily process notes
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participation in group process
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written explanation
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three-dimensional experiments
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participation in final mural project
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assessment rubric